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3232Promo: Interview with Edward Harrison (Skellig) at Nottingham Playhouse.https://eastmidlandstheatre.com/2019/03/20/promo-interview-with-edward-harrison-skellig-at-nottingham-playhouse/
https://eastmidlandstheatre.com/2019/03/20/promo-interview-with-edward-harrison-skellig-at-nottingham-playhouse/#respondWed, 20 Mar 2019 17:12:56 +0000http://eastmidlandstheatre.com/?p=7613Read more Promo: Interview with Edward Harrison (Skellig) at Nottingham Playhouse.]]>Edward Harrison is returning to Nottingham Playhouse this month, to take on the role of Skellig. Edward is already a familiar face to Nottingham Playhouse after appearing in the popular family friendly show Holes last year.

He tells us what drew him to the role, his thoughts on returning to Nottingham and what Skellig is all about…

What is Skellig about?

The play is set in the North East of England and is about a young boy called Michael who is going through a tough time. One day, behind an old tea chest in the garage, he discovers Skellig – someone or something extraordinary. He makes it his mission to find out who and what he is, whether he can help Skellig and whether Skellig can help him.

What drew you to the role of Skellig?

This role is unlike anything I’ve done before! I didn’t know the novel and it just completely swept me away. It’s an incredibly beautiful and poignant story about childhood, imagination and the power of belief.

There is one aspect of the role which I’m not entirely sure I can divulge BUT, I will say that I used to dream about it as a kid and it’s not humanly possible.

How do you feel about returning to the Nottingham Playhouse stage?

This is my fourth time, so you could say I like it! It has always been a very special place to work, but it feels like a particularly exciting time for the theatre and this wonderful city. The spotlight is really on the Playhouse and I’m so honoured and excited to be a part of that.

Skellig was also an award-winning children’s novel, do you feel like you have to perform differently when it is a show aimed at families?

I really don’t think so. It’s about clear storytelling and truth. I feel like it’s a trap to start patronising kids and broadening the performance. As a result, whilst this story is fantastical in many ways, the family at the heart of it are very real. And I think children will relate to the kind and curious character of Michael, but also his new friend Mina – who is world wise and brave.

5. You have performed on Broadway as well as TV shows such as Doctor Who, how does performing on stage and on TV differ?

The world of television and film obviously has its own appeal, but there is nothing like live theatre. To sit in the dark with strangers and as an audience be transported together to a different world for a couple of hours is something special. It lives and dies in that moment. That’s why I love it from both the stage and the auditorium. And differences? Aside from obvious technical ones, the stage is really the actor’s medium. A huge part of screen work happens in an editing suite, but in the theatre, we are (mostly) in control of our performance night after night, making the possibility of new things more real and exciting.

Skellig in rehearsal

6. Why should people come and watch Skellig?

This production promises to be jam-packed full of beauty and humour, silliness and lyricism. There’s puppetry and aerial work and dynamic storytelling with one of the most loved and award-winning children’s stories of the past twenty years.

Many people will have seen the film version of the story – why should they book tickets for the stage version?

This story has taken many successful forms over the years. On stage, you go on this adventure with Michael in a more visceral way – you might even smell Skellig’s supper.

What’s next for you?

I honestly haven’t thought beyond this production. I might not leave. They are currently building a giant nest onstage at the Playhouse – that sounds comfortable. And fun. See ya there!

Nottingham Playhouse has been one of the United Kingdom’s leading producing theatres since its foundation in 1948. It welcomes over 130,000 ticket buyers annually and an additional 170,000 visitors to participation events and to Anish Kapoor’s stunning Sky Mirror. It creates productions large and small, from timeless classics and enthralling family shows to adventurous new commissions, often touring work nationally and internationally. Nottingham Playhouse was nominated Best Regional Theatre in The Stage Awards 2019. In spring 2018 under new Artistic Director Adam Penford, the Playhouse produced two world premieres, Shebeen and Lava, and one regional premiere, Wonderland, all to great critical acclaim. September 2018 saw the highly praised production of Sweet Charity, the Playhouse’s first musical in over 10 years. In November 2018, The Madness of George III became the Playhouse’s highest ever selling drama. The production was also broadcast by NT Live to over 2,500 venues in nearly 70 different countries, and won two WhatOnStage Awards 2019 for Best Play Revival and Best Supporting Actor (Adrian Scarborough). Nottingham Playhouse was named Regional Theatre of the Year at The Stage Awards 2019.

Following two sold out runs at the National Theatre, acclaimed performances at West Yorkshire Playhouse (now Leeds Playhouse), a hugely successful tour of Australia and New Zealand and the forthcoming tour of America and Canada, Inua Ellams’ play Barber Shop Chronicles will embark on an extensive tour of the UK in Spring 2019

The tour will visit Manchester, Leicester, Bristol, Sheffield, Oxford and Southampton with further venues to be announced soon.

Barber Shop Chronicles is a co-production between Fuel, the National Theatre and Leeds Playhouse.

Fuel has formed a national partnership to support the tour with Leeds Playhouse, Birmingham Rep, Bristol Old Vic, and the Royal Exchange Theatre and Contact in Manchester.

The UK tour of Barber Shop Chronicles is supported by a major grant from Arts Council England.

Original Company of Barber Shop Chronicles at The National Theatre

Fuel also announces that a minimum of 10% of all available tickets across the entire tour will be made available for free via local engagement initiatives aimed at young people who traditionally wouldn’t attend theatre performances.

The runaway success of Inua Ellams’ highly acclaimed play Barber Shop Chronicles continues as today Kate McGrath, Director of Fuel, is delighted to confirm that Barber Shop Chronicles will tour the UK from March 2019. Working closely with a national partnership of venues (including Leeds Playhouse, Birmingham Rep, Bristol Old Vic and Royal Exchange Manchester with Contact) Fuel is thrilled that the UK tour of Barber Shop Chronicles will be supported by a grant from Arts Council England. This support will help the production to attract new, young and diverse audiences with a minimum of 10% of all available tickets across the entire tour will be made available for free via local engagement initiatives aimed at young people who traditionally wouldn’t attend theatre performances.

Kate McGrath, Director of Fuel, and Inua Ellams met in 2008, after Kate saw what became Inua’s first theatre show, The 14th Tale, at Battersea Arts Centre. Fuel helped Inua develop his debut play and produced it, premiering it at the Edinburgh Festival, winning a Fringe First, touring it in the UK and internationally and presenting it at the National Theatre. Since that first meeting, Fuel has worked closely with Inua, producing Untitled, Knight Watch, Long Song Goodbye, Black T-shirt Collection, The Spalding Suite, An Evening with an Immigrant, and now Barber Shop Chronicles. Fuel is also currently co-producing Inua’s Half-God of Rainfall with Kiln Theatre in association with Birmingham Rep, which will open in April 2019, and Inua’s Three Sisters with The National Theatre, which will open in autumn 2019.

Kate McGrath said: “Everyone at Fuel is thrilled about this tour. We are hugely proud of this joyous and soulful production of Inua’s important and life-affirming play. We are particularly excited, given Fuel’s deep and longstanding dedication to national touring, to be working in partnership with a really strong range of venues and partners across the UK to bring this show to the widest possible audience around the country. It’s a brilliant opportunity, in particular, to develop Fuel’s commitment to growing young and diverse audiences for contemporary theatre nation-wide.”

Leeds Playhouse Artistic Director James Brining said: “We are delighted to further develop our partnership with Fuel through the tour of this brilliant production which made such a huge impact on its first outing in Leeds. It’s terrific that more audiences will have the chance to experience the show throughout the UK and more so that Leeds Playhouse audiences another chance to experience it after a hugely successful response internationally. The story has roots in Leeds and the Playhouse is in the unique position on the journey of the show of being both an originating co-producer and a venue for the upcoming tour. We can’t wait to share a production which continues to be admired and loved by warm and generous audiences around the world, especially as part of our “Welcome Back” Season following our redevelopment project.”

The production is directed by Bijan Sheibani, designed by Rae Smith, with lighting design by Jack Knowles, movement direction by Aline David and sound design by Gareth Fry.Co-commissioned by Fuel and the National Theatre. Development funded by Arts Council England with the support of Fuel, National Theatre, Leeds Playhouse, The Binks Trust, British Council ZA, Òran Mór and A Play, a Pie and a Pint.
The tour has received National Lottery funding through Arts Council England’s Project Grants programme.

The Magic Flute is the third most popular opera performed worldwide. Papageno’s rustic songs, and the famous trilling aria of the Queen of the Night, are widely-recognised, so that even if one has never seen the opera, Mozart’s music is ingrained as part of our cultural heritage. First performed in 1791, as with Shakespeare, one wonders how it can continue to entertain today? Opera North have grasped the opportunity to re-envision it with both hands and present a fantastical, beautifully crafted piece.

As with many classic tales, the story itself is rather convoluted. A young girl falls asleep and dreams of an imaginary world. The handsome Prince Tamino is pursued by a monstrous serpent. Three ladies, servants of the Queen of the Night, slay the monster, and show the Prince a picture of the Queen’s daughter, Pamina, with whom he immediately falls in love. Tamino vows to rescue her from Sarastro, the Priest of the Sun, and the three ladies give him a magic flute to help him. Papageno, a bird-catcher, is tasked with accompanying him. Tamino discovers that Sarastro has kept Pamina hidden from her mother for her own safety, and he must now undergo various trials to prove his love. After a brief battle, Sarastro defeats the Queen of the Night and the sun rises on a new dawn. And that’s the short version.

Beyond the complex detail of the story, larger themes emerge. This is a fable of contradictions and contrasts, and the murky world created where they meet. Papageno is a bird-catcher, a crude Irish peasant plucker of birds, with hobnail boots, a denim jacket and a wild sprouting of ginger curls. In this instance, an ‘everyman’ who just wants a quiet pint and a girl of his own, and who is lost in this world of myths and death-defying trials. Gavan King in this role has brilliant comedic timing, and even deals with a (friendly) heckler with a casual riposte. With a beautifully warm tone and impressive diction, the audience warms immediately to his charm, and he provides the key to our involvement in the story. Papageno’s natural environment is the forest, a magical place, bathed in violet moonlight, with ethereal beech trees hanging mid-air, their roots red entrails, having been plucked from the earth.

This natural world is sharply contrasted with the formal world of the temple of Sarastro, whose sparse surroundings and repressive, orderly uniforms exhibit the desire for control and conformity. The costumes here are stunning: a whole community bedecked in blood red, with its highest commanders swathed in folds of heavy white drapes with red linings. Blood or suffering sheathed in purity. The details are beautiful – an asymmetric cut coat with off-set gold buttons and crisp red piping – it echoes the traditional, yet also feels timeless and modern. Set and costume Designer Colin Richmond makes the whole production a visual feast. The three ladies are a cross between nursemaids and avenging angels of death, with light sabres as weapons and blood splattered aprons, looking spookily like the recent television adaptation of The Handmaids Tale.

The scenery consists of a series of white casement windows which become walls, sometimes moved to create a vast ballroom space, sometimes overlapped and protruding, representing Pamina’s cramped imprisonment or a bare corridor. The fluidity of the walls and their ‘blankness’ creates an unsettling, dream-like quality in itself. The translucent material used as ‘glass’, allows Chris Davey’s lighting plan to suffuse through it to great dramatic effect, creating swathes of other-worldly colour and providing a surface on which digital projections are made. Designed by Douglas O’Connell, these allow the enchanting elements to be heightened further, with luscious tropical flowers unfolding, and elements of fire and water filling the stage during the ‘trials’.

Imagine this cornucopia of optical delight, and then infuse it with the most exquisite singing and a sublime orchestra. Kang Wang as Tamino is a reluctant hero, his wonderfully lyrical arias apparently effortless and relaxed. Pamina is performed by Ellie Laugharne in Nottingham, and she brings spirit and energy to the role, her elegant soprano voice caressing the softer melodies. The pinnacle of Mozart’s music comes with the Queen of the Night’s furious instruction of her daughter to kill Sarastro. So desperate is she to regain her powers, she is rendered almost speechless, and the staccato altitudinous notes represent this suppressed fury. Samantha Hay achieves a breath-taking, flawless performance, giving the role depth and expression beyond the villainous archetype.

The orchestra, with over 40 members, deserves to be listened to without the distraction of all that is absorbing our visual senses. George Jackson conducts at this performance, and keeps the energy high, and the sound articulate and expressive. From the vantage point of the dress circle, it is always an additional pleasure to be able to see the orchestra play.

Newcomers to opera, like myself, will be in awe at the purity and strength of sound achieved by the singers projecting their voices without the aid of microphones. Likewise, the large orchestra is beautifully balanced with the voices and this creates an enveloping, natural sound which audiences subjected to over-amped musicals will be astonished by. The large chorus, made up of adults and children, is another bonus, giving yet another engaging dimension to the story.

This production of The Magic Flute by Opera North is simply glorious. Every opportunity to make it live it and breathe has been taken, every character rounded out, every technical component aiding and abetting its exaltation. James Brining, Artistic Director of Leeds Playhouse, is at the helm and it seems clear that his focus has been on extracting the dramatic expression and the story-telling in the production. This production at Nottingham Theatre Royal is sold out but Opera North’s new season has just been announced, and to anyone and everyone who loves the theatre, I would urge you to book ahead for future productions. Opera may feel like something distinct and ‘for others’, challenging even, but Opera North have made it accessible, wondrous, a joy to behold.

We would love you to check out East Midlands Theatre Facebook, Instagram and Twitter pages below. Click on images and please like and follow and share.

]]>https://eastmidlandstheatre.com/2019/03/20/promo-derby-theatre-much-ado-about-nothing-northern-broadsides-and-new-vic-theatre/feed/0philiplowePromo: What’s On at the Royal Concert Hall Nottingham in April 2019https://eastmidlandstheatre.com/2019/03/20/promo-whats-on-at-the-royal-concert-hall-nottingham-in-april-2019/
https://eastmidlandstheatre.com/2019/03/20/promo-whats-on-at-the-royal-concert-hall-nottingham-in-april-2019/#respondWed, 20 Mar 2019 11:18:37 +0000http://eastmidlandstheatre.com/?p=7566Read more Promo: What’s On at the Royal Concert Hall Nottingham in April 2019]]>

*Go Card free scheme for full time students and under 26s offering ticket discounts for Theatre Royal & Royal Concert Hall Nottingham classical music events www.trch.co.uk/gocard

]]>https://eastmidlandstheatre.com/2019/03/20/promo-whats-on-at-the-royal-concert-hall-nottingham-in-april-2019/feed/0philiplowePromo: April 6th 2019. Nottingham Theatre Royal Open Day to celebrate Heritage success.https://eastmidlandstheatre.com/2019/03/20/promo-april-6th-2019-nottingham-theatre-royal-open-day-to-celebrate-heritage-success/
https://eastmidlandstheatre.com/2019/03/20/promo-april-6th-2019-nottingham-theatre-royal-open-day-to-celebrate-heritage-success/#respondWed, 20 Mar 2019 11:00:45 +0000http://eastmidlandstheatre.com/?p=7560Read more Promo: April 6th 2019. Nottingham Theatre Royal Open Day to celebrate Heritage success.]]>THEATRE ROYAL OPEN DAY TO CELEBRATE HERITAGE SUCCESS

On Saturday 6 April 2019, from 9.30am to 1pm, the Theatre Royal Nottingham will be opening its doors for a free Open Day.

Featuring backstage tours, street theatre, live music and displays, the Open Day is an opportunity for the public to glimpse behind the scenes of the region’s largest touring venue, and to celebrate the achievements of the venue’s heritage work over the past two years.

In 2017, the Theatre Royal, in partnership with the University of Nottingham, received funding from the Heritage Lottery Fund to establish a new programme of archive and heritage work for the venue.

This included recruiting and training over 50 volunteers; organising and cataloguing the Theatre Royal’s own physical archive; conducting oral history interviews with actors, performers, staff, audience members and others to preserve memories and stories of the Theatre Royal; establishing a series of special heritage talks and events and the creation of a brand new digital archive at www.ourtheatreroyal.org making our history much more widely available.

“This has been a very special project to be part of. I’ve met many interesting people through the Oral History ‘interviews’, discovering the story of our wonderful theatre from different, and unique, perspectives.” Liz Macdonald, Oral History Volunteer

“Two years ago, when I first volunteered for this project, we were literally faced with a dusty room at the top of the stairs, accessible only to a few. Now we have a veritable Aladdin’s Cave of treasures accessible to everyone at http://www.ourtheatreroyal.org. What an exciting journey we have had.” Gloria Bone, Archive Volunteer

During the Open Day, there will be an opportunity for people to peruse many original items from our archive, dating back to when the Theatre Royal’s doors first opened in 1865. Display boards will showcase some of the heritage work that has taken place over the last two years and of course people will be able to dive deep into the digital archive.

Victorian-themed street theatre company, Circo Rum Ba Ba, will provide entertainment in the foyers, as well as some very special canine friends from last year’s Nottingham Puppet Festival.

“Following our 150th anniversary celebrations in 2015, this heritage legacy project was a chance for us to finally realise our ambition to creatively engage with our history,” saysDavid Longford, Creative Learning Manager for the Theatre Royal & Royal Concert Hall. “There is still a lot more work to do and we have some exciting ideas to develop, but this Open Day will be an opportunity to thank volunteers, funders and partners in what we have achieved so far.”

All events are free at the Theatre Royal’s Open Day, including the backstage tours. Last tour leaves at 12.45pm. Pre-booking not required, apart from the accessible backstage tours for those with access requirements: Wheelchair tour at 11am and BSL interpreted tour at 12pm. Places are limited for these accessible tours so we recommend booking in advance at www.trch.co.uk or 0115 989 5555.

About the Heritage Lottery Fund

Thanks to National Lottery players, we invest money to help people across the UK explore, enjoy and protect the heritage they care about – from the archaeology under our feet to the historic parks and buildings we love, from precious memories and collections to rare wildlife. www.hlf.org.uk. Follow us on Twitter, Facebook and Instagram and use #HLFsupported.

Supported by the work of researchers at the University of Nottingham, the Theatre Royal’s digital archive guides users through the venue’s history, either chronologically via a timeline or by exploring broader themes such as Pantomime, Theatre During the Wars, Onstage & Backstage and Building the Theatre. As well as historic posters, programmes, playbills, letters and postcards from the late 19th century onwards, the website also includes many oral histories to listen to recorded with actors, staff and audience members sharing their backstage stories and anecdotes. The digital archive allows users to explore these fascinating artefacts and to delve deeper via related links on each website page.

If you are considering going to Curve Theatre to catch Royal and Derngate’s touring production of The Worst Witch then we suggest that you fly over there on your proverbial broomstick – or just book on the internet or by phone – pretty darn quick. This fantastic fantastical show is a perfectly magical night out for the family with children 7+ years.

Played with tremendous gusto by an all female cast (and their cats) and adapted from Jill Murphy’s original and very popular books by Emma Reeves this stage production is a real winner. We were spellbound right from the start in this play within a play. Fans of the books and television versions will not be disappointed.

The whole energetic company work well together with some stand out performances, especially from Danielle Bird as our plucky heroine Mildred Hubble, Rosie Abraham as the perfectly perfect (not) snobby girl Enid and Consuela Rolle as the sparky girl, Ethel. On the adult side Rachel Heaton is triumphantly humourless as Miss Hardbroom and Polly Lister is superbly double sided as the nice Miss Cackle and her evil twin Agatha. Live music is performed by Megan Leigh Mason (Miss Drill), Molly-Grace Cutler (Miss Bat), and Meg Forgan (Fenella). Other pupils are convincingly and energetically portrayed by Emma Lau (Drusilla) and Rebecca Killick (Maud).

As well as being adventurous in nature, The Worst Witch play also considers the themes of nurturing and potential for those who happen be outsiders and through the stage adaptation we celebrate the potential of theatre to illuminate, broaden imaginations and achieve the seeming impossible. And thus it is impossible not to enjoy this erstwhile show with or without a laughter potion or a shenanigans’ spell. And did we mention that there are cats in it too?

The Worst Witch runs at Curve Leicester 19th – 24th March 2019.

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]]>https://eastmidlandstheatre.com/2019/03/20/review-the-worst-witch-touring-curve-theatre-leicester/feed/0philiploweDisclaimerEast Midlands Theatre FacebookNews: Made At Curve White Christmas London transfer to Dominion Theatrehttps://eastmidlandstheatre.com/2019/03/20/news-made-at-curve-white-christmas-london-transfer-to-dominion-theatre/
https://eastmidlandstheatre.com/2019/03/20/news-made-at-curve-white-christmas-london-transfer-to-dominion-theatre/#respondWed, 20 Mar 2019 07:22:52 +0000http://eastmidlandstheatre.com/?p=7543Read more News: Made At Curve White Christmas London transfer to Dominion Theatre]]>Our big congratulations to director Nikolai Foster and choreographer Stephen Mear and producers Jamie Wilson Ltd on the, hot off the press, news that the Made At Curve production of White Christmas is to transfer to the Dominion Theatre in London for a limited period from 15 November 2019 to 4 Jan 2020.

Avenue Q is your typical boy-meets-girl show, with cute musical numbers, and you should definitely book tickets for all your kids – wait, what?? NO, no it’s NOT!! (It’s those Bad Idea Bears, get out of here guys …..)

Okay, sorry, so now we’ve stuffed those Bad Idea Bears into the broom cupboard at Derby Theatre …. Avenue Q is actually a very rude, politically incorrect and extremely funny popular musical featuring people and puppets, and people with puppets, and porn. Yes, porn. It’s what the internet was made for, right? Is this making any sense? No? Ok, let’s go back to the very beginning …

Princeton, our graduate hero, is looking for his ‘purpose’, and moves into Avenue Q, down to the town because uptown is too uppity. With a freshly minted BA in English, he is full of hopes and dreams … which rapidly turn to dust. He finds an apartment to rent, from Gary Coleman (yes, that one), with neighbours including a Japanese therapist called Christmas Eve, and Brian, a failed Jewish comedian. He meets Kate, the kindergarten teacher monster-next-door, and Rod, an uptight investment banker, with his unlikely flatmate Nicky, a virtually horizontal laid back slacker. All making sense now, huh?

Avenue Q was first performed in 2003 and is still fresh and original, taking an honest look at the real world dilemmas of growing up, when you realise that the sheltered world of college hasn’t quite prepared you for everyday adulthood. It’s riotous and funny and dares to say things that many would shrink from. Yet it gets away with it, because it’s mostly puppets saying these things. Think of Kermit and Miss Piggy, of Sesame Street, and how those puppets take on human characteristics, and you get the idea. The real skill here is in the human performers, who are not only operating the puppets and performing the songs but do so with such expression that the audience focuses on the puppets and not the humans. The puppets themselves are colourful and cartoon-like, larger than life, and with a few hand gestures or a flick of the head, communicate all that is required. The actors are all in stage blacks, so their bodies fade into the background, though their facial expressions still follow the puppet characters.

With songs such as ‘If You Were Gay’, ‘Everyone’s a Little Bit Racist’ and ‘Schadenfeude’, Avenue Q is certainly not treading a traditional path. The music and lyrics by Robert Lopez and Jeff Marx are unique, catchy, and full of punchy, sometimes breath-taking, hutzpah! They address issues that make people uncomfortable, that we all struggle with, and they do it openly and honestly, so after the gasp of disbelief that they ‘went there’, there is also the relief of laughter in recognising our own embarrassment and confusion.

The 11 strong cast put in an energetic, non-stop performance, with several cast members performing 2 or more puppet characters. Some of the puppets are two-handed (or headed, in human terms) and this requires incredible spatial awareness and co-ordination of movement to make it seamless. Tom Steedon and Megan Armstrong as Nicky are particularly skilled at this, with very physical, almost balletic moves. Cecily Redman plays both Kate Monster and Lucy the Slut – and in a few scenes, both at the same time! She gives a virtuoso performance of switching tone of voice and attitude, though it is occasionally a little distracting trying to keep track of who’s who! Likewise Princeton doubles up with Rod via Lawrence Smith, a performer with a wonderfully warm singing voice. His neurotic Rod is super, right down to his barely repressed anger. Trekkie Monster, a reclusive internet surfer of dubious renown, has a sort of naïve charm, which is rather at odds with his hobby of choice.

Through all their struggles, friendships and break ups, we come to care about this crazy community on Avenue Q and there are some genuinely touching moments in amongst the madness. With lyrical songs such as ‘A Fine, Fine Line’ and ‘I Wish I Could Go Back to College’, the show has a good deal of melody to enjoy, alongside the humour. The six strong band, under the direction of Dean McDermott produce a full and dynamic sound.

If you want a belly laugh and are not easily offended, Avenue Q is the place to be. And who knows, you might even find your purpose.

Avenue Q runs at Derby Theatre 18th-23rd March.

We would love you to check out East Midlands Theatre Facebook, Instagram and Twitter pages below. Click on images and please like and follow and share.

]]>https://eastmidlandstheatre.com/2019/03/19/review-avenue-q-2019-tour-derby-theatre/feed/0philiploweDisclaimerEast Midlands Theatre FacebookPromo: The Color Purple. Full casting details. Made at Curve and Birmingham Hippodrome.https://eastmidlandstheatre.com/2019/03/15/promo-the-color-purple-full-casting-details-made-at-curve-and-birmingham-hippodrome/
https://eastmidlandstheatre.com/2019/03/15/promo-the-color-purple-full-casting-details-made-at-curve-and-birmingham-hippodrome/#commentsFri, 15 Mar 2019 05:48:34 +0000http://eastmidlandstheatre.com/?p=7503Read more Promo: The Color Purple. Full casting details. Made at Curve and Birmingham Hippodrome.]]>FULL CASTING ANNOUNCED FOR CURVE AND BIRMINGHAM HIPPODROME’S CO-PRODUCTION OF THE TONY AWARD-WINNING BROADWAY SENSATION

THE COLOR PURPLE

SEYI OMOOBA AS CELIE

JOANNA FRANCIS AS SHUG AVERY

AKO MITCHELL AS MISTER

KAREN MAVUNDUKURE AS SOFIA

DANIELLE FIAMANYA AS NETTIE

SIMON-ANTHONY RHODEN AS HARPO

DELROY BROWN AS PA

Directed by Tinuke Craig

28 Jun – 13 Jul 2019 at Curve, Leicester

16 – 20 Jul 2019 at Birmingham Hippodrome

Leicester’s Curve and Birmingham Hippodrome today announce the full casting for their co-production of Oprah Winfrey’s hit Broadway musical, The Color Purple, based on the Pulitzer Prize-winning novel by Alice Walker. The production, the first to be created outside of London in the UK, will play at Curve, Leicester from 28th June – 13th July, followed by 16th – 20th July at Birmingham Hippodrome, with a national press night at Curve on Wednesday 3rd July at 7pm.

Leading the cast is Seyi Omooba in the role of heroine Celie. Her theatre credits include Hadestown (National Theatre); Crystal in Little Shop of Horrors (Regent’s Park); Martha in Spring Awakening (Hope Mill Theatre) and Tilly in Junkyard (Bristol Old Vic and UK Tour). She also played the role of Nettie in the Cadogan Hall production of The Color Purple.

Joining Seyi is Joanna Francis who plays jazz singer and preacher’s daughter, Shug Avery. Most recently Joanna played the role of Lois in Dusty (UK Tour). Joanna returns to Curve following alternating the role of Deloris Van Cartier in Sister Act in 2016. Her other credits include Elsa in The Harder They Come (Theatre Royal Stratford East and The Barbican Theatre/Birmingham Hippodrome) and alternate Dionne in Hair (The Vaults).

Following his recent roles of The Dryer and The Bus in the critically acclaimed Caroline or Change (Chichester, Hampstead and West End), Ako Mitchell joins The Color Purple as Celie’s abusive husband, Mister. His other theatre credits include Nicely-Nicely Johnson in Guys And Dolls (Manchester Royal Exchange), Eddie Mackrel in The Wild Party (The Other Place Theatre), Brooks in Grey Gardens (Southwark Playhouse), How To Succeed In Business Without Really Trying (Royal Festival Hall), Mitch in The 25th Annual Putnam County Spelling Bee (Donmar Warehouse), Eddie in Sister Act (London Palladium) and Mufasa in The Lion King (Lyceum Theatre).

The show will be directed by Tinuke Craig, winner of the 2014 Genesis Future Directors Award. Tinuke’s recent credits include random/generations, a double bill of plays by Debbie Tucker Green at Chichester Festival Theatre and I Call my Brothers by Jonas Hassen Khemiri at the Gate Theatre.

The Color Purple is an unforgettable story told over the course of 40 years, which follows courageous heroine Celie, as she journeys through joy, despair, anguish and hope in her own personal awakening to discover her unique voice in the world.

With a profoundly evocative score drawing inspiration from jazz, ragtime, gospel and blues, this moving family chronicle set in racially divided southern America, celebrates life, love and the strength to stand up for who you are and what you believe in.

“Curve’s casting director Kay Magson and director Tinuke Craig have assembled an exceptional group of actors to create this Made at Curve and Birmingham Hippodrome co-production of the stunning musical The Color Purple. We are looking forward to welcoming them all to Leicester very much and know they will create something true, mind-blowing and beautiful.

“Seyi Omooba is an actress of immense power and she leads a formidable ensemble of astonishing talent; they are set to blow the roof off Leicester.”

“We’re very proud to be working on this co-production with our friends at Curve Leicester, and hope it’s the start of many more collaborations. I know that our audiences here in the West Midlands will find the powerful story and characters both socially and culturally relevant; and what an incredible cast and creative team has been assembled to tell it. I can’t think of a better way to mark the Hippodrome’s 120th birthday than with our first main stage co-production.”

Creative Team

Director Tinuke Craig

Set & Costume Designer Alex Lowde

Musical Supervisor Alex Parker

Orchestrator Martin Higgins

Choreographer Mark Smith

Lighting Designer Joshua Pharo

Sound Designer Tom Marshall

Hair & Make-up Designer Cynthia De La Rosa

Casting Director Kay Magson CDG

Co-producers Birmingham Hippodrome

Tickets for The Color Purple are on sale now. Further details can be found online on www.curveonline.co.uk